Review: Boy, The Haunting sure brings back a lot of memories for me. It’s 1999 and I’ve finished my first year of college. I’d been a hardcore movie fan all through high school and middle school but with my growing independence I was able to pick what movies I wanted to take myself to and involve friends with. The net was still in its relative infancy so to watch trailers outside of a movie theater you had to go on the web and hope your connection was strong enough to keep the preview from buffering forever. I remember watching the original teaser trailer for The Haunting on TrailerPark.com about a hundred times because it had everything going for it. Scary movie? Check. Famous director? Check. Popular stars? Check. Prestige producers? Check. It was all there. Then the movie came out.

Here’s the original teaser to jog your memory:

Speaking of memories, I remember seeing The Haunting on its opening day and being more than a bit baffled by what was going on with my sure-fire sure thing. I mean, I had spent $20 to have the glossy double sided theatrical one-sheet poster sent to me so I could display it in my room – I didn’t spend that much money on a turkey, did I? At the time, I felt I had. The audiences were laughing at moments meant to be scary and the effects felt like a let-down considering the budget and who was involved. I was so frustrated I think I saw the movie once more when it came out on DVD but hadn’t seen it in probably a decade and a half.

We’re in the season of scary movies so I figured now would be better than ever to revisit this remake of Robert Wise’s undisputed 1963 classic. Also, seeing that the original novel by Shirley Jackson has received another remake in the form of a 10-part Netflix show, I wanted to give this one another look before diving into that new production. Produced by Steven Spielberg’s (JAWS) studio Dreamworks SKG, aside from a few admittedly cheesy bits and those same iffy effects, I was amazed to discover that The Haunting wasn’t the corny mess I remembered it to be. Not by half.

The same day her sister announces plans to sell the apartment she shared with her recently deceased invalid mother, Nell (Lili Taylor, The Conjuring) receives a call inviting her to participate in a sleep study at a secluded mansion. She’ll be paid well and room and board is provided. It seems the perfect solution to her dilemma. Arriving at the ominous Hill House, she’s transfixed by the large estates beauty and ornate interior design. Joined by bisexual vixen Theo (Catherine Zeta-Jones, Side Effects) and all-American dude Luke (Owen Wilson, Inherent Vice), Nell settles in far easier than her fellow test subjects, seemingly unfazed by the house’s nighttime activities which involve strange noises and ghostly apparitions.

The study is being conducted by Dr. Marrow (Liam Neeson, The Commuter) and, unbeknownst to the three, the study they are participating in has less to do with their sleep patterns and more to do with their fear reflexes. He’s chosen Hill House for its storied history of being haunted and before he knows it the ghosts truly do come out to play in increasingly aggressive methods. Soon, Nell comes to realize there are two sets of ghosts at work in the house. One group is steering them all to a mystery hidden within while another more malevolent force wants to make sure Nell never leaves.

The first hour or so of The Haunting is a well-constructed vice grip that continues to tighten as the people explore the house and its impressively crafted rooms. The production design here is out of this world, rich and detailed with no two spaces looking exactly alike. Much of the huge budget must have been devoted to these playing spaces because while you sort of always know they are sets and not practical rooms in a real mansion the overall illusion is a wonder. From the large ballroom to a panic inducing revolving room of mirrors, each door opens up to a new feast of the eyes. Even nearly twenty years later it’s remarkable.

Where the film tends to run off the rails (and was then savaged by critics) is in the visual effects which look one step up from Casper the Friendly Ghost-style floating images. Some of them are downright laughable, especially the wooden cherub faces that decorate Nell’s room. One moment they are giving you the creeps as their dead eyes bore into you, the next you’re giggling when their expression changes to horror with wide eyes and their mouths forming an “O”. The final sequence is nearly all CGI and it fails to captivate you, though cinematographer turned director Jan de Bont (Flatliners) does stir up some good camera work during the final act.

Yet for all these problems which do play a part in diminishing the overall effect The Haunting was going for, I still found myself enjoying this re-watch all these years later. It’s well-intentioned and largely well-made with a great cast (more Lili Taylor in everything, please) and is a masterpiece of set-design. I went in thinking it would still be that cornball loser I had written it off as being all those years ago but found myself invested in the material and characters. Sadly, this hasn’t been released on BluRay (why the heck not?) but do yourself a favor and find an HD streaming copy to rent. It’s worth another look.